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Referring to the lack of coordination and agreement among Iranian linguists and Iranian men of letters, the author of this article discusses the negative consequences of such discordance. Then, he discusses the contributions of linguists to literary studies. The author offers  a way by which linguistic methodologies can demonstrate the inferences of the men of letters objectively. Since long, there has been argument over the three terms; verse, prose, and poetry. As a result the boundaries among the three have not been clear-cut. In an attempt to solve the confusion, the author examines the three terms linguistically and presents the differences among them. Along the same lines, he seeks to drive some objective rules in order to make a clear distinction between language and literature. He also offers a basis on which the position of verse, prose, and poetry can be determined as three artistic modes of the same name, i.e., ‘verbal art’.
 

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The universal culture has turned about some binary elements.
An Obvious indication of this state is the contrast between spoken and written language, which has, in turn, influenced the human culture to the extent that Derrida considers it as the source of errors in the two-millennium tradition of Western culture. Any reform in the world communities has been attributed to the above contrast and the so- called revolution of the written language. In Islamic culture, the revelation of the Holy Quran is considered as the first revolution of the written language and Adonis has beautifully illustrated the written / spoken dialectic in the Islamic culture. In this declaration, he discusses the position and role of Rhetoric as an art of speech and explores rhetoric from various perspectives: substantial features, its functions, training and persuasion, ultimate goal and significance as well as its triadic underlying principles; commonly agreed upon by rhetoric scholar's composition, harmony and style. Also, it covers such topics as anatomy of rhetoric, its status in the Ignorance era and the Islamic age as well as its impact on Arabic poetry and rhetoric.
The paper proceeds with highlighting the major distinctive features of speech and prose and sheds lights on their functions as well as aesthetics.
 

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The similarities between Moulana's (Roumi) poetic style and Surrealism have been widely studied for many years. After reviewing the relevant literature, this paper revisits the topic more intensively and cites some supporting arguments to that claim. To this end, the similarities between the above styles are discussed from two perspectives. First, the similarities between Moulana's views concerning poetry are compared against those of the manifesto of surrealism. In the second part, the distinctive features of surrealist imagery in Moulana's poetry are portrayed. Then, it can be convincingly argued that what Andre Brereton and his contemporaries (1924 -1930) presented about madness and self-directed writing, marvelous phenomenon, the spark nature of poetic discourse, etc. in their poetic manifesto in Paris had indeed been experienced and realized in poetry by the great Persian Poet Moulana Jalal Ol Deen Mohammad Moulavi (604 – 672 A.H.) as early as eight centuries ago.
 

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Parvin Etesami, as one of the poets of the recent century, was affected by the social  structure  of Iran of both Pre-Constitutionalism and Post- Constitutionalism. In her poetry , she dealt with issues which were both reflected in the Iranian traditional culture and affected by the new culture of Iranian society flourishing following constitutionalism and the global society as well. In her later poems, based on her Negating approach, she criticized the contemporary social conditions. In so doing, she was affected by traditions and inspired by modernity. Her poetry, akin to her personality, the primary concern of the present article is the study and analysis of Parvin's sociological thoughts in the light of the social ups and downs in the Iran of late Ghajar dynasty and First Pahlavi.
 


 

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One of the basic approaches to the existing critiques of Sohrab Sepehri enumerates the linguistic, semantic, and artistic values and features originally derived from the Islamic mysticism. Two trends are quite discernible in these comments:  proving the mystic nature of his thoughts and poems and, in contrast, rejection, refutation and even teasing the idea altogether. This paper, initially, states the problem and explains the affinity between Sepehri's poetry and Islamic mysticism. Then, a critical evaluative account of the views for and against Sepehri's alleged orientation towards Islamic mysticism is presented.
 

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One of the key themes  in   Ahmad Shamloo's  poetry is the  expression of various aspects of human sufferings  and grief .According to a study done on  Shamloo poetry collection , we can dare to say that he is the greatest  second or third poet  in last 2 or 3 decades who was involved with the concept of  reality during his artistic and social life .By  sufferings  and grief, we mean   an overall  collection of  interpretations  , comments, and themes   which deal with these two words, namely, suffering and grief .For instance if we consider nature of sufferings   and grief from one perspective , its reasons from second perspective , ways in which we can get rid of sufferings from third perspective  , result and conclusion from the  fourth perspective  and finally moral dignity from an additional perspective, we will face an extensive volume of interpretations and  abundant  vocabularies in his poetry whose  discovery and review  indicate his mental obsession with these concepts .what counts as an  important  point in  examination of  sufferings  and grief concept in  Shamloo's  works is investigation of sufferings  and grief nature and how they are  contemplated in  Shamloo mental system .Surveying the reasons and factors contributing to  sufferings  and grief is the second problem which  is an intricate concept  in Shamloo's poetry, considering  the different reasons  given by classic and contemporary man. Another concern of this research is positive and negative effect of sufferings and grief as well as human attitude toward human beings   sufferings and grief.

 

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One of the main achievements of Persian poetry is the use of subjectivity in literary creation. In other words,contemporary Iranian poets try to speak in their poetry of those concepts and images that they have experienced in their life, such as nature, environment and culture. Bahmaniis one of these subjective poets who employs his experiences in his poetry and speaks of the climate, environment and culture of the South. The sea has a special place in the poetry of Bahmani and is used in its different forms and contexts. This article is an attempt to show the reflection of the sea in the poetry of Bahmani and also investigates its role in the development of his poetry.


 

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The reflection of historical events of the 1330s in Iranian calendar, due to their special importance in Iran’s contemporary history, is one of the issues which have always been considered by intellectuals, scholars and committed poets of that decade. Government's dominance and its widespread repression are the most important reasons for the committed poets of 1330s to use symbolic expressions. While Nima is considered as the pioneer of contemporary symbolists, Mehdi Akhavan Salis, who is one of the committed poets, has greatly put this way of expression into focus of attention. The result of this study shows that he has used public and personal symbols to express the events and to inform the following generations about them. The high frequency of personal symbols in Akhavan Salis’s poems reflects his poetic sense and passion to speak of social problems. The study was carried out through a descriptive method and data was gathered and analyzed by library research.

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Persian poetry first entered the Indian subcontinent during the second period of Qaznavid dynasty in the north of India and is mainly reflected in the poetry of such poets as Masoud Saad Salman. The second wave started with the Moghul invasion during which many Iranian scientists, scholars, poets and Sufis moved to the north of India. The result of this mass emigration was the emergence of such eminent poets as Amirkhosro Dehlavi and Amirhossein Dehlavi. During the Baberian period, the third wave took place. During this time, which lasted around three hundred years, India became the center of Persian poetry giving rise to a form that came to be labeled as Indian style of Persian poetry. This article attempts to conduct an in-depth study of three major poets of Indian style: Orfi, Zohori and Taleb-e Amoli. Moreover, it endeavours to show how their innovations in Persian poetry encouraged a host of indigenous Indian poets and the style of poetry that came to be called "Tarz-e-Khiyal", with Bidel-e Dehlavi being the most prominent poet of this style. Thus Persian poetry spread across India until the advent of the British colonization.

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Mir Kermani was one of the contemporary poets of Khwaju Kermani, whose complete collection of poems were published based on a manuscript copy belonging to Saeed Nafisi. His poems, despite being rich and full of meaning, have remained unknown for some reason. In this library research article, using the descriptive-analytical method, the Kermani poet was introduced, and his lyrics were studied from phonetic, linguistic, intellectual, and literary perspectives. Investigating the different aspects of Mir’s lyrics indicated that his lyrics lacking monorhymes were more compared to his contemporary poets, but the nominal monorhymes were considerable in his lyrics. Various types of literal arrays such as pun and balance were abundant in his poetry. The lyric poems had a fluent language, but occasional over-attention to figures of speech and the aesthetics of the words made his verses artificial. The motif of Mir’s lyrics was romantic, and the poet mostly used lovely descriptions of the beloved. Among the forms of imagery, simile was abundantly used in his poetry, while metaphors could rarely be seen and the share of novel metaphors in his lyrics was very small. Allusion and metaphor, the devices of brevity were rarely seen in Mir’s lyrics. Generally, the poet mostly focused on thematic concepts.   
 

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A researcher, lyricist, and a modernist, Wasef Bakhtari is regarded as one of the leading figures of contemporary Persian literature in Afghanistan. He is more known as a poet who writes difficult-to-understand poems, and his language is full of ambiguity and complexity. Therefore, in the present study, based on the semiotic theory of “Michael Riffaterre” and using qualitative content analysis and the retroactive reading approach, the ungrammaticalities, accumulations, descriptive systems, semantic transformations, and minimal semantic units in the poem “... And I Had Cried” by Bakhtari were determined and the elements that were the external signified of the signifiers inside the poem were introduced. The matrix scattered throughout the whole poem was obtained and its semantic structure was clarified. Riffaterre’s semiotic theory seeks to help the reader – by transcending imitative and exploratory reading and resorting to retroactive reading – go beyond the imitative layer of the text and enter the world of its signs, pursuant to which the structure of meaning in symbolic and ambiguous poems can be identified. The findings of the study show that the language of Bakhtari’s poetry is more complex than that of his contemporaries, but through various theories, including Riffaterre’s semiotic theory of poetry, it is possible to well penetrate the inner layers of meaning in his poetry and understand its semantic structure.
 

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The limits of some of the words in the texts of the ancients, in spite of the frequent use and effort of the lexicographers, have not been well defined. One of these words is "ambre gris", which the lexicographers have written only a little information about it, and its old features and uses remain unknown to the reader of ancient texts.
Ambre gris is commonly known for its fragrance and some of its decorative and medicinal uses, while a brief glance at Arabic and Persian poetry and prose texts shows that this material has been used in the lives of ancestors more than we can imagine and has been the subject of numerous poets and writers' themes.
In this article, by studying literary, commentary, historical, scientific, etc. books in Persian and Arabic poetry and prose as much as possible, the evidence for the use of this word has been collected and analyzed.
This article discusses ambre gris mines and how it is created and the various theories about it, the types of ambre gris and its best type, the forms and how to use the ambre gris, the various uses of the ambre gris, the use of the ambre gris in the names, as well as the jurisprudential rules of the ambre gris.
 

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“Romance-Chivalry” as a literary genre, narrates in poetic terms the protagonist’s struggle to achieve the beloved. Ayyuqi’s Varqa and Golshāh, Saam Nameh, Khwaju Kermani’s Homay o Homayun, Nazl Abadi’s Masnavi-e Jamal and Jalal, and Humay Nameh and Badi al-Zaman Nameh (by an anonymous poet) are among the outstanding works in this genre from the fifth to tenth Hijri centuries. The characterization of the protagonist is among the most significant narrative characteristics of this genre. The shared characteristics between the protagonists can classified as a genre. The protagonists in this genre, who have multidimensional and mysterious personalities and are of noble and royal descendants, are portrayed as lovers, moralists, pacifists, theists, and chivalrous which render them popular among people. Also, based on context and narrative traditions, the protagonist can be characterized within an Iranian-Islamic axis where he is presented as prophet, saint, leader, and commoner. In Ayyuqi’s work, the protagonist is a leader. According to Northrop Frye, the protagonist is superior to ordinary people. The protagonist’s personality, to various degrees, follows the characterization tradition Shahname, Eskandar Nameh-e Naghalli, and Hamzeh Nameh. Gradually, The protagonist’s religiosity becomes prominent which accords with the dominant political and religious circumstances of the poet’s society, to the extent that in Badi al-Zaman Nameh we witness dogmatic protagonist.